December evokes fantasies of snug fires, family festivities, and winter wonderlands. Cleveland’s Baroque Orchestra Apollo’s Fire provides a fitting soundtrack to these daydreams, in their new album Christmas on Sugarloaf Mountain. The tracks portray sounds of Christmas from the Irish hillsides to the Appalachian Mountains. Light a candle, and put your dancing shoes on, because this album traverses songs of community, faith, and history, as well as barn dances and Scottish reels.

A long-overdue collaboration between two of the area’s eminent chamber ensembles yielded divine results when Les Délices and Quire Cleveland came together on Saturday, April 28 at Lakewood Congregational Church for “Let the Heavens Rejoice!” The program showcased celebratory French Baroque psalms for 22 voices, 14 instruments, and a quartet of vocal soloists, all under the direction of guest conductor Scott Metcalfe.

Apollo’s Fire brought the house down and the heart rates up at their Carnegie Hall debut last Thursday, March 22 at the venue’s cozy Zankel Hall in New York City. The highlight of this “Evening at Bach’s Coffeehouse” was the closer: a thrilling, caffeinating performance of Vivaldi’s “La Follia” Sonata for Two Violins and Continuo, arranged by artistic director, conductor, and harpsichordist Jeannette Sorrell for this Cleveland-based Baroque orchestra.

The Apollo’s Fire concert on Friday, February 9 at St. Paul’s Episcopal Church in Cleveland Heights, “Three Duels and a Wedding” — with a surprise — highlighted three double concertos and the well-known Wedding Cantata by J.S. Bach. First, about the duels. The concert opened with Georg Philipp Telemann’s Concerto in e for flute and violin. Flutist Kathie Stewart’s pearly tone and concertmaster Olivier Brault’s joie de vivre were excellently complemented by harpsichordist/conductor Jeannette Sorrell and the ensemble. [Read more…]

The five sold-out performances of “Christmas on Sugarloaf Mountain” this month attest to the popularity of Apollo’s Fire’s crossover shows. Heard on Saturday, December 9 at First Baptist Church in Shaker Heights, the holiday sequel to “Sugarloaf Mountain: an Appalachian Gathering” was just as alluring and infectious as its predecessor, even if some of its elements were still in the process of settling in. [Read more…]

Apollo’s Fire crowned its 25th anniversary season over the summer with sold-out performances at Tanglewood, Ravinia, and Cain Park. I reached Artistic Director Jeannette Sorrell to ask what’s ahead for Cleveland’s Baroque Orchestra in 2017-2018.

Daniel Hathaway: You’ve planned some big works to begin and end your new season — Handel’s Israel in Egypt in the fall, and Monteverdi’s Orfeo in the Spring. I understand that you’ve created a special version of Handel’s famous, double-chorus oratorio for the October 12-15 performances in Northeast Ohio.

Jeannette Sorrell: I’ve always felt that Israel in Egypt is a great work, but performances I’ve heard didn’t always work for me. The original piece was in three parts, beginning with the “Lamentation on the Death of Jeremiah” and continuing with “Exodus” and “The Song of Moses.” Audiences today usually only hear the second and third parts, but the “Lamentation” contains some beautiful, poignant funeral music.

Apollo’s Fire performed an outstanding early music concert at Cleveland Heights’ Cain Park Amphitheater last Saturday night, July 29. Outside the venue, wine tastings, accompanied vocals, and a lively barbershop quartet set a relaxed mood. The core of the program was the ensemble’s performance of Antonio Vivaldi’s complete The Four Seasons, with the four separate concerti spread throughout the evening. [Read more…]

On the seventh day, BPI rested — even Kathie Stewart, who is usually at work Monday through Friday shortly after dawn as Oberlin’s Curator of Harpsichords. Known publically to Apollo’s Fire audiences as the principal flutist in Cleveland’s Baroque Orchestra, Stewart’s role at BPI is usually hidden from sight, although the results of her labors are crucial to the work of BPI’s 22 harpsichord students.

Few other institutions could provide multiple practice instruments for that many keyboardists. BPI students have access to 18 harpsichords of various configurations, and Stewart tunes them all every weekday beginning between 6:00 and 6:30 am. “In ten days, that comes out to 180 tunings, plus another 20 for concerts and faculty rehearsals,” she told me, taking a break from touching up one of Lisa Goode Crawford’s personal instruments. [Read more…]

Historical performance groups have revitalized Baroque music by performing 17th- and 18th-century works on the instruments for which they were written. More recently, a number of those ensembles have made forays into the classical world of Haydn and Mozart and the early Romantic era of Beethoven and Mendelssohn, expanding their musical rhetoric and stretching the capabilities of their instruments.

Now add Jeannette Sorrell and Apollo’s Fire to that list. Cleveland’s Baroque Orchestra will conclude their 25th-anniversary season with “Beethoven and Schubert Rediscovered,” a festival that includes four Beethoven concerts, a “Schubertiade,” a dance workshop, and lectures and panel discussions.

The Beethoven programs, which run from April 26-29, will feature Berlin Philharmonic first concertmaster Noah Bendix-Balgley performing the Violin Concerto. The program includes the Egmont Overture and the Fifth Symphony.

This past week Apollo’s Fire, Cleveland’s Baroque orchestra conducted by Jeannette Sorrell, presented five performances of its “Virtuoso Bach” program. Sunday afternoon’s performance at Rocky River Presbyterian Church benefitted visually from the church’s lovely setting, but the high ceiling and wide space created a rather muddy acoustic that at times affected the clarity of sound. [Read more…]

Re•Views

Atlanta Symphony music director and Oberlin alum Robert Spano led the Oberlin Orchestra in impressive performances of Stephen Hartke’s cello concerto, Da Pacem — a world premiere featuring faculty cellist Darrett Adkins — and Jennifer Higdon’s Concerto for Orchestra in Finney Chapel on December 12. I caught the performance remotely via the live webcast. [Read on…]

The peripatetic CityMusic Cleveland Chamber Orchestra resumed its roving this past week from Wednesday, December 12 through Sunday, December 16 in a sprightly program led by principal guest conductor Stefan Willich with Cleveland Orchestra principal oboe Frank Rosenwein as soloist. I caught the second evening on Thursday, December 13 at Temple Tifereth-Israel in Beachwood. [Read on…]

The saga of New York City Opera, the company founded in 1944 at the behest of mayor Fiorello Laguardia to act as a populist foil to the socially elite Metropolitan Opera, is largely peculiar to New York, but its multiple near-death experiences and ultimate filing for bankruptcy in 2013 flash some warning signs across the industry. Will the most expensive of art forms continue to be viable as audiences and financial resources undergo gradual but seismic changes? [Read on…]

While many in the Cleveland area may be familiar with the choral works of Lakewood native David Conte — his music is regularly performed by ensembles such as Good Company — his recent CD, Everyone Sang, offers another side of his vocal-writing talents. Released in August on the Arsis label, this two-disc set comprises engaging works for solo voice and piano, as well as voice and instrumental ensembles. [Read on…]

Jack Sutte’s second album of solo trumpet music, Bent, follows Fanfare Alone and continues his passion for discovering new repertoire in that genre. After exploring various possible meanings of the album title in his liner notes (“images of metal, tubing, sound waves, refracted light”), Sutte writes that “solo works for trumpet are bent for the performer and listener; each requiring a willingness to fully participate in the unusual musical format.” [Read on…]

On his 2013 recording, The Rascal and the Sparrow — Poulenc meets Piaf, pianist Antonio Pompa-Baldi delighted listeners with his captivating interpretations of music from two stalwarts of the 20th-century French chanson. On his latest CD, the pianist looks to the music of his native Italy for inspiration — specifically the emotionally charged Neapolitan song. [Read on…]

ACRONYM — Anachronistic Cooperative, Realizing Obscure Nuanced Yesteryear’s Masterpieces — does not play the kind of music that marketers can brand as “relaxing.” Just as classical musicians have questioned the selling of their art as soporific and soothing, these twelve string and keyboard players reject sleepiness, self-seriousness, and the confines of the canon. On The Battle, the Bethel & the Ball, they pursue their stated mission of giving life to unknown, “wild instrumental music of the 17th century.” [Read on…]